An emotional rollercoaster of a novel about the catastrophic consequences of well-intended pity, this was a somewhat exhausting read but a rich and gripping one too.
A lesser-known Hitchcock movie about survivors of a German U-boat attack during World War II, this tense survival thriller, set almost entirely aboard a tiny lifeboat, definitely deserves more love and attention.
By today’s desensitised standards, this horror classic – often cited as the Scariest Movie of All Time – is kinda dated, kinda slow and not that terribly scary. But its most notorious scenes and moments still have a power to disturb.
I finally got around to watching Akira Kurosawa’s groundbreaking and influential 1950 masterpiece about the nature of truth. Though many movies since have borrowed its unconventional narrative structure and the idea of multiple perspectives of the same event, the film still remains an effective and striking watch today.
I just recently re-read Ira Levin’s chilling horror classic for the umpteenth time, so I thought I’d also look up the even more famous 1968 film adaptation with Mia Farrow.
You know the lockdown has warped your brain when, after watching Hitchcock’s classic horror-thriller about the flocks of killer birds terrorising a small seaside town, you’re still thinking wistfully of a coastal weekend getaway.
I confess that most of my knowledge about A Streetcar Named Desire came from a classic Simpsons episode. But now I finally unwrapped the 1951 adaptation of Tennessee Williams’ stage play, after the DVD sat on my shelves for years.
I read this remarkable landmark sci-fi novel all over again immediately after I finished it, which is exceedingly rare for me. I simply wasn’t satisfied with my first reading, which happened in short bursts separated by long periods of time; this is a kind of richly detailed and imaginative book that’s best appreciated by immersing yourself into it for a while.
Science fiction is a perfect medium for exploring “what if” scenarios, and the thought experiment in The Left Hand of Darkness goes like this: what would a human society look like if people had no fixed gender, and male/female dualism didn’t exist?